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Type News

Communication Arts Typography Annual 2014

January 29, 2015 by
Yves Peters
Yves Peters

Now in its fifth year, the Communication Arts Typography Annual has become a staple amongst the typeface design awards and Best Of lists. With the largest international circulation of any trade journal on visual communications, having work selected for the Communication Arts Typography Annual is considered a significant professional milestone to the creators and publishers of these award-winning projects.

The quality of the submissions was very high this year, and in total 140 projects from the over 1,800 entries were selected unanimously by the judges – John Clark, the founder of Looking, an interdisciplinary design studio involved in 2-D, 3-D and new media design; designer, typographer and art director Juan Carlos Pagan, currently the design director at Deutsch NY and a partner at the Brooklyn-based design studio Pagan & Sharp; and award-winning typeface and lettering designer Laura Worthington.

Cover for the Communication Arts Typography Annual 5
Cover for the Communication Arts Typography Annual 5

There is a noticeable shift in the type of entries – an increased number of projects don’t use “out-of-the-box” typefaces but turn to hand lettering and custom letter forms. Another, in my opinion commendable trend is that the jury noticed a greater variety in the choice of type – instead of seeing the same handful of popular faces used over and over again, out of the 119 typefaces featured in this year’s annual only five are used twice.

A dozen original typefaces were awarded in the category Typeface Design.

BC Kakao

Typeface designer | Vojtěch Říha
Foundry | Briefcase Type Foundry

BC Kakao is a family of three different yet stylistically similar script fonts. Their stylised casual structure is loosely based on brush calligraphy and handwriting.


Typeface designer | Pedro Leal
Creative director | Dino dos Santos
Foundry | DSType

Torio is an interpretation of the Spanish calligrapher Torio de la Riva’s work which reflects the freedom of de la Riva’s calligraphy which is closely related to the style that was a success among Spanish calligraphers. The script possesses unique inter-word ligatures that connect the last letter of a word to the first letter of the next one.

FF Franziska family

Typeface designer | Jakob Runge
Foundry | FontFont

FF Franziska is a robust serif type family conceived as a hybrid of a serif and slab serif. Its italics have a slight slope and playful shapes derived from handwriting.


Typeface designer | Kosal Sen
Foundry | Philatype

Lovato is a contemporary Latin typeface (with triangular serifs). Whereas most Latin typefaces take their classical proportions from inscriptions and calligraphy, Lovato is more geometric in construction.

P22 Marcel Script

Typeface designer | Carolyn Porter
Foundry | P22 Type Foundry

P22 Marcel Script is named in honor of Marcel Heuzé, a Frenchman conscripted into labor during World War II. During the months Heuzé was in Germany, he wrote letters to his beloved wife and daughters back home in France. Heuzé's letters contain both beautiful expressions of love and extraordinary testimony of survival within a labor camp. The goal was to create a script face that retained the expressive character of Heuzé's original handwriting.

Mayonez family

Typeface designer | Sergio Ramírez
Foundry | Sardiez

Mayonez is a typeface built with a rational structure and axis, but carefully softened with rounded contours and cupped serifs. Its soft appearance strikes a nice balance between seriousness and friendliness.


Typeface designer | Lucas Sharp
Foundry | Incubator

Ogg is inspired by the hand lettering of 20th-century book designer and calligrapher Oscar Ogg. Summoning a Renaissance flavor while still managing to feel fresh and contemporary, the typeface captures the unique mix of calligraphic and typographic form he achieved through his use of hand-carved pen nibs.

Dream Script

Typeface designer | Maximiliano R. Sproviero
Foundry | Lián Types

The goal of Dream Script was to maintain the liveliness and expressiveness of the chancery hand in a digital typeface. The many alternates per glyph make each word look unique, just like real calligraphy.

Sauber Script

Typeface designer | Michael Hochleitner
Foundry | Typejockeys

Sauber Script is a friendly connected brush script with a hint of vintage. After its period of exclusivity expired, the corporate typeface of the recycling company Saubermacher was revised and expanded, and is now available for the general public.

Essay Text

[link not found] Typeface designer | Ellmer Stefan
Foundry | TypeTogether

Essay Text is a highly legible text face with a natural reading flow that is rooted in the spirit of the French Renaissance, when Roman typographic letter forms became fully emancipated. The typeface goes beyond sentimental antiquity and becomes a contemporary interpretation of the archetypes of that period.


Typeface designer | Gerard Unger
Foundry | TypeTogether

Alverata is a contemporary typeface inspired by the shapes of Romanesque capitals in inscriptions of the eleventh century. Robust yet refined in their detail, the letter forms come in many variants, with versions for both formal and informal applications and with Greek and Cyrillic relatives.

Das Grotesk

Typeface designer | Panos Vassiliou
Foundry | Parachute

Unlike most grotesque typefaces that have a rather monotonous and lifeless appearance due to their pure geometric structure, Das Grotesk is a lively design with slanted curved finials and sheared terminals on straight strokes. The space-saving typeface has a two-storey ‘a’ and ‘g’ as well as single-storey alternates.